Nossa chape torrent download eng us

Its name reminds me of dear faces and of familiar places, as well as of a spirit living beneath its sky that makes it an eternal source of inspiration. Festival international de la Roche-sur-Yon. The documentary follows months, weeks, and days leading up to the U. Shot in Baghdad and the countryside on a lightweight video camera, this electrifying five-and-a-half hour film divides into two parts, Before the Fall and After the Battle.

On Oct. Eventually, after the fall of the capital, Haidar accompanies the filmmaker on numerous excursions throughout the city.

Watching Homeland is like pulling a photo album off the shelf, dusting it off, revisiting family and old friends, made increasingly poignant by the passage of time. In the faces of ordinary Iraqis gazing into his camera, Fahdel reasserts the beauty and magic of the close-up. Anxious, they still go about their affairs as normally as possible. They prepare for the coming invasion, just in case, not knowing if, or when, it will come. To partly paraphrase an old Yiddish saying, women plan and the U.

At the end of Part 1, we learn to our shock — from an intertitle — that Haidar will die in the coming months. A chronicle of a death foretold. After the Battle carefully chronicles the terrible wake they left in Iraq.

Instead, he records its aftermath, the traces left behind. Unlike Claude Lanzmann, Fahdel does not appear on camera and his off-screen presence is less angry, more contemplative. Only time will tell where the destruction of this Middle Eastern country ranks in the long list of world atrocities. In After the Fall, ominous portents emerge in the early weeks and months of the U. Looters thrive, the occupiers stand by, chaos reigns.

Like Shoah, Homeland is a great work of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them.

The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. Filming virtually by himself, Abbas Fahdel is just this kind of witness. Angel of history. Traumatized by the death of his nephew, Fahdel stopped videotaping.

An Iraqi exile living and working in France, the director mourned for more than a decade, only completing Homeland twelve years later. To those of us who live far from Baghdad, Fahdel has written an indelible scroll of the Iraqi capital, once upon a time.

Homeland remains an everlasting tablet of a proud people preparing, and enduring, a destiny written by a handful of extremists in Washington, DC, itself once the capital of a lawful country. From many a bombed building, Fahdel makes silent stones speak. Through its duration and attention to everyday detail, Homeland allows us, symbolically, to sit shiva with the extended Fahdel family, friends, and, by implication, the Iraqi people, as they mourn their dead.

Paying such a home visit is a deed of kindness and compassion. We mourn them, too, as we grieve the victims of the American occupation. Despite the escalating chaos, there are small signs of hope. In the penultimate sequence, a relative gives birth, to the great joy of the extended family.

Now, thanks to the Bush regime, there is literally no place like home for millions of Iraqis, in the shards of their country or on the trails of exile. The crooked shall not be made straight. Like Shoah, it is a monument to the power of cinema to recreate a vanished world.

Every second in its company is richly-spent. How does one even begin to prepare for that kind of assault? Clocking in at nearly six hours and presented in what may feel like raw homevideo form, this transformative verite glimpse into the lives of everyday Iraqis demands both patience and empathy to sit through, but the reward is worth every second, as an extremely limited number of courageous programmers and curious audiences can attest.

Nothing here seems polished, manufactured or even remotely sensationalized. Recorded over the course of 17 months, beginning in Feb. The idea here is to immerse audiences in a world that, while superficially different from their own, resonates as familiar on the most fundamental levels — namely, that desire to be left alone and allowed to survive. In this respect, Fahdel who visited his relatives, but assembled the film in France, where he has spent the majority of his life makes the curious, yet undeniably haunting choice of informing us via sober onscreen text which of his family members will die before the film ends — not so much a spoiler as a bit of foreboding that underscores the senselessness of their fates, while excusing the fact that it was never his intention to make a snuff film.

Their deaths will remain undepicted. Given what we already know of his fate, Haidar becomes a kind of walking ghost, helplessly naive about the actual dangers of the imminent American attack. As far as he and the family are concerned, they have been through this before: In one scene, Haidar and his cousins joke about how a diaper can serve as a gas mask, while in another, he re-applies tape to keep the living-room windows from shattering, covering traces that remain from the last war.

To quote one of President George W. It almost goes without saying that people would be unhappy with the war, and the inconveniences captured feel relatively minor compared to those which have been thoroughly reported via more professional journalists. Pourquoi ces retours? Il y avait aussi ce besoin de retrouver ma famille, mon pays. Image extraite de Homeland Iraq Year Zero. Au regard des risques, pour vous et votre famille, le referiez-vous? Je ne sais pas. Tous les hommes politiques irakiens sont corrompus.

En ce moment, il y a des manifestations partout en Irak… Une sorte de printemps irakien. Je ne vois pas de solution. On est probablement partis pour encore dix ans de chaos. Votre film a deux parties : « Before the Battle », puis « After the Battle ».

Sous Saddam, les familles devaient absolument avoir un portrait de lui dans leur maison. Dans chaque quartier, il y avait une cellule du parti Baas. Je ne voulais pas donner de commentaires ou poser des questions. Vous avez quoi contre les discours de Saddam?! On allait leur rendre visite. Vous, vous avez vu le film. Dans les cinq minutes, il y en a parfois quatre de trop. Je ne veux plus filmer. As imagens coloridas do passado anunciam desenvolvimento e vislumbram um futuro otimista.

Depois, por causa do dispositivo. Este modo simples de filmar se revela de enorme complexidade. Propor as regras da partida sem interferir no resultado. O tempo todo, incorpora um espectro maior que seu pequeno corpo. O desemprego cresce. Os moradores se adequam a esta nova realidade imposta pela guerra da forma como podem. A certa altura, a brincadeira se torna realidade. O mesmo acontece aqui. Ela inventa novas paisagens mentais.

Cependant, vous avez pris des risques personnels en vous rendant en Irak en …. Quand les Irakiens me voyaient avec lui, ils pensaient que je faisais un reportage sur lui! Fahdel arranca su country home movie filmando la cotidianidad de toda su familia, y en la medida en que lo hace va incorporando paulatinamente el barrio, la ciudad y las afueras de Bagdad. En les regardant, le film a pris forme.

Elle voit depuis sa terrasse un soldat dormir sur une place. On filme tout, en fait. Mais par-dessus tout on filme des choses en apparence anodines. Oui, je voulais commencer par cela. Parce que ce ne sont plus des soldats, ce sont des jeunes. Il y a eu des bavures, des incidents.

Nous avons pris le chemin de Hit, plus proche que Bagdad. Est-ce parce que Homeland serait certainement pour vous le dernier? The first shot before the U. These were the questions I asked myself, with a bit of frantic and insatiable curiosity.

Et pour cause : « Sous Saddam, aucun Irakien ne filmait sa famille. Mais on ne le regardera pas. Homeland will have its North American premiere at the upcoming New York Film Festival, another jewel in the festival galaxy. Article complet. Foi realizada durante a censura feroz da ditadura de Saddam Hussein. Um dos sobrinhos de Fahdel assume o protagonismo. A censura fazia com que a pessoa fosse uma no trabalho e outra em casa; uma pessoa por fora e outra por dentro, diz ele.

Um grupo de garotos mostra um companheiro com as pernas atrofiadas, que seria alvo do deboche de soldados americanos. Um homem muito pobre, revoltado, recolhendo lixo em uma carreta, se pergunta por que os soldados sempre apontam suas armas, gratuitamente, contra ele.

A pergunta me chocou. Em seguida, a tela negra. Estudou cinema em Paris com Jean Rouch e mora na cidade com a mulher e a filha. Atualmente filma Bagdah. O menino que sorria e brincava contente com seus primos tornou-se um adulto precoce.

Un grand film. Les films fleuve semblent avoir la cote dans les festivals. On assiste au spectacle banal et toujours merveilleux de la vie quotidienne.

Entre Tigre et Euphrate, des oiseaux passent comme des menaces. Comme disait un membre du jury, «Homeland ne peut que gagner». Seguramente no es el caso. Vous, vous avez vu le film. Dans les cinq minutes, il y en a parfois quatre de trop. Je ne veux plus filmer. As imagens coloridas do passado anunciam desenvolvimento e vislumbram um futuro otimista.

Depois, por causa do dispositivo. Este modo simples de filmar se revela de enorme complexidade. Propor as regras da partida sem interferir no resultado.

O tempo todo, incorpora um espectro maior que seu pequeno corpo. O desemprego cresce. Os moradores se adequam a esta nova realidade imposta pela guerra da forma como podem. A certa altura, a brincadeira se torna realidade. O mesmo acontece aqui. Ela inventa novas paisagens mentais.

Cependant, vous avez pris des risques personnels en vous rendant en Irak en …. Quand les Irakiens me voyaient avec lui, ils pensaient que je faisais un reportage sur lui! Fahdel arranca su country home movie filmando la cotidianidad de toda su familia, y en la medida en que lo hace va incorporando paulatinamente el barrio, la ciudad y las afueras de Bagdad. En les regardant, le film a pris forme.

Elle voit depuis sa terrasse un soldat dormir sur une place. On filme tout, en fait. Mais par-dessus tout on filme des choses en apparence anodines. Oui, je voulais commencer par cela.

Parce que ce ne sont plus des soldats, ce sont des jeunes. Il y a eu des bavures, des incidents. Nous avons pris le chemin de Hit, plus proche que Bagdad. Est-ce parce que Homeland serait certainement pour vous le dernier? The first shot before the U. These were the questions I asked myself, with a bit of frantic and insatiable curiosity.

Et pour cause : « Sous Saddam, aucun Irakien ne filmait sa famille. Mais on ne le regardera pas. Homeland will have its North American premiere at the upcoming New York Film Festival, another jewel in the festival galaxy. Article complet. Foi realizada durante a censura feroz da ditadura de Saddam Hussein. Um dos sobrinhos de Fahdel assume o protagonismo. A censura fazia com que a pessoa fosse uma no trabalho e outra em casa; uma pessoa por fora e outra por dentro, diz ele.

Um grupo de garotos mostra um companheiro com as pernas atrofiadas, que seria alvo do deboche de soldados americanos. Um homem muito pobre, revoltado, recolhendo lixo em uma carreta, se pergunta por que os soldados sempre apontam suas armas, gratuitamente, contra ele. A pergunta me chocou. Em seguida, a tela negra. Estudou cinema em Paris com Jean Rouch e mora na cidade com a mulher e a filha. Atualmente filma Bagdah. O menino que sorria e brincava contente com seus primos tornou-se um adulto precoce.

Un grand film. Les films fleuve semblent avoir la cote dans les festivals. On assiste au spectacle banal et toujours merveilleux de la vie quotidienne. Entre Tigre et Euphrate, des oiseaux passent comme des menaces. Comme disait un membre du jury, «Homeland ne peut que gagner». Seguramente no es el caso. La familia mira la tele y se calla, pero ya es posible sentir la densidad del silencio e imaginar lo que se esconde por debajo de las miradas.

Incluso lo que no se muestra es extraordinario. Ya se ha filmado innumerables veces y sabemos que siempre tiene sabor a sangre y olor a quemado.

Los soldados pueden todo y no pasa nada: acosan, persiguen, matan, y el derecho y la ley son un chiste. Su mirada ahora es grave y llena de una revuelta profunda. Tirar frutas a la calle forma parte de un pasado remoto; el chico ahora se rebela contra los padres porque no puede disparar la ametralladora para celebrar la muerte de los hijos del dictador con sus vecinos.

Lo que era ternura ahora es odio y sangre en los ojos. El infierno es gris, sucio y tiene el color del polvo del desierto. El pueblo es lo que no cesa de surgir en cada mirada. The marshlands of Mesopotamia, at the delta of the euphrates and tiger rivers, in southern Iraq.

This is where Mastour and Zahra grow up. Being Cousins, they are married very young. On the battlefield, Mastour befriends with Riad arrives in the village, he falls deeply in love with zahra. But unable to bear the loss of her husband, she Shuts herself off. He is better equipped than anyone for this task. An Iraqi among Iarqis, he embodies a reference point in the turmoil. His presence and commitment during the past year, his receptivity during those months when everyone was preparing for war explains why his camera is never indiscreet or prying.

Revue de presse — Nous, les Irakiens. Affiche :Retour A Babylone Genre : documentary Duration : 51 min Year of production : Back after twenty-five years of exile in his home country, Irak, and in his home town Babylone ; the director asks himself : « What has become of my old friends? What has life done to them here? This slideshow requires JavaScript. Create a free website or blog at WordPress.

Search Search. Facebook YouTube. Yara Director: Abbas Fahdel. Writer: Abbas Fahdel. Un beau documentaire au souffle romanesque. Il a subi trente ans de dictature, trois guerres et un embargo.

Emmanuel Pasquier. Battle for Haditha Par : Isabelle Arnaud. Agence France-Presse Paris. Quelles sont les raisons qui expliquent une si longue gestation? At the very centre of Homeland Iraq Year Zero are in fact questions of representation, of cultural perspective and omission of the visible. This absence becomes more and more telling as the film progresses and we realise that the armed aggression of Iraq was but the prelude to a nightmare of unspeakable proportions.

The most distressing aspect of the war that the film captures is not the actual invasion but its consequences: the descent of Iraqi society into utter and violent chaos. Far from being a collateral damage of sort, the disintegration of Iraqi society is a strategic ploy as old as colonialism itself that the American administration carried out by any means necessary.

For the citizens of Iraq this meant a forced cohabitation between the bearable lightness of everyday life and the dim indeterminacy of incessant, deadly danger. The first part of the documentary serves as a humbling counterpoint to the clobbering propaganda that justified in the name of democracy the annihilation of a country, its people and society for decades to come.

To the pathetic and fateful image of Colin Powell waving to the world a sample of faecal matter claiming it to be a weapon of mass destruction, Abbas Fahdel opposes the everyday gestures of a middle class family in Baghdad: their fears, doomed hopes and ordinary preoccupations. Instead of the featureless, conniving savages that populates Hollywood depictions of the Iraq war, we get to know the members of a society still founded, however imperfectly, on communal models of reciprocity.

Very much like Wiseman though, Fahdel is not interested in passing judgements or proving a point: he limits himself to the composition a choral mosaic of voices, fragments of life and emphatic vignettes. Though the disaster of war is ubiquitous throughout the second part, the film avoids drawing any conclusion, political or otherwise. Even hatred and rage, not only understandable but also historically justified, find hardly any room in the film.

The moral and figurative perspective of western representation, with its unequivocal civilization of correct images, is challenged by a refusal to convey a single point of view. This aesthetic divergence has characterised the visual history of Christianity and Islam since the invention of perspective which put the Western point of view at the very centre of representation. Left: Colin Powell.

Right: Alhazan as portrayed on an Iraqi banknote. The film capsizes our preconceptions, both benevolent and prejudiced, to illustrate first and foremost that the daily reality of war is something that media, regardless of their political orientation, hardly touch upon. If stereotypes deny subtleties in order to corroborate fears, Homeland attempts to mirror the complexity of Iraqi society by capturing its nuances, be they political, cultural or religious.

It would be misdealing though to label Homeland as a film on the Iraq war. The war in effect is never framed for the very simple fact that its contours are fluid, its implications all-pervading and its circumscription impossible, both visually and militarily.

Faced with the calamitous immanence of modern warfare, the director can only observe its multiple manifestations or resignedly follow the disorder it unleashes. Only death, which enters the film first as announcement then as diegetic presence, can determine the final shape of a documentary that could have otherwise survived its end. This inversion of perspective finds in the city of Baghdad a symbolic site of historical significance — there in fact were laid the optical foundations on which the medium we call cinema rests.

More than gravity it was light for Alhazan the pillar around which human life orbited and was shaped. The very same light that went out over the city that so presciently had understood its importance. November 11th, pm by Mark Walker. When Fahdel returned in , two weeks after the invasion, daily activities like going to school or shopping at the market had become nearly impossible; many areas of Baghdad had been closed off to ordinary citizens, yet everyone pressed on.

North American Premiere. Jeffrey Ruoff. Avril AFP. Que filme-t-on quand on filme un monde approchant de sa disparition? Revista Desistfilm Terra natal : Iraque ano zero. Parte I: Antes da queda min.

The absence of law left the borders and then implanted racism in the hearts of American citizens, so this kind of unfortunate incident occurs. A movie that tells the reality that it is good!! Details Edit. Release date March 6, United States. United States. Official Facebook Official Instagram.

English Spanish. Vital Pictures. Box office Edit. Technical specs Edit. Runtime 1 hour 26 minutes. Related news. Jan 6 The Wrap. Contribute to this page Suggest an edit or add missing content. Top Gap. What is the Italian language plot outline for Beneath Us ? See more gaps Learn more about contributing. Edit page.